The New York Times' Scores

Select another publication »
For 20,311 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
view
per page
  1. dream/killer
    Though the timeline and a few details could use further clarification, dream/killer remains fast-paced and frightening.
  2. Viva
    It infuses a too-familiar story with so much heart that you surrender to its charm and forgive it for being unabashedly formulaic.
  3. The Brand New Testament
    Most of the humor is too lighthearted to offend all but the most reverent believers, and the movie’s inventiveness rarely flags.
  4. Sunday Ball
    Captured more for poetry than for clarity, the topography of penalties and free kicks can be impossible to follow. But Léo Bittencourt’s photography has flash and flair, and hardscrabble determination on a real-life field of dreams has a narrative all its own.
  5. The Edge of Seventeen
    [Ms. Steinfeld] manages a tricky balancing act, making Nadine simultaneously sympathetic and dislikable.
  6. War Dogs
    [Todd Phillips] delivers an entertaining tale, especially when one or both men have to travel from their home base in Florida to overseas hot spots to correct their ineptitude.
  7. Men Go to Battle
    The filmmakers’ bold pushback against the rigid formality of the genre they draw upon doesn’t always deliver. With the exception of Ms. Korine, the performers often seem to have a hard time shaking off the aura of the contemporary. Nevertheless, there’s much of value here.
  8. We Are Twisted F***ing Sister!
    The movie tells an incomplete version of the band’s story...but provides a comprehensive and sometimes harrowing portrayal of the grind a working bar band in the 1970s had to endure to get by.
  9. Tallulah
    The story in Tallulah sometimes strains credulity, but it’s beautifully told and acted.
  10. Swiss Army Man
    Impossible to categorize, this stunningly original mix of the macabre and the magical combines comedy, tragedy, fantasy and love story into an utterly singular package that’s beholden to no rules but its own.
  11. Captain Fantastic
    It’s left to Mr. Mortensen, who can make menace feel like vulnerability — and turn vulnerability into a confession — to keep the movie from slipping into sentimentality. He’s the most obvious reason to see it, although Mr. Ross’s insistence on taking your intelligence for granted is itself a great turn on.
  12. The Witness
    A re-creation of the night, with an actress playing the screaming victim while Mr. Genovese observes, is harrowing.
  13. Marguerite
    Marguerite overstays its welcome by at least 20 minutes. What redeems it is Ms. Frot’s subtle, deeply compassionate portrayal of a rich, lonely woman clutching at an impossible dream until reality intrudes.
  14. Hunt for the Wilderpeople
    Hunt for the Wilderpeople takes a troika of familiar story types — the plucky kid, the crusty geezer, the nurturing bosom — and strips them of cliché. Charming and funny, it is a drama masquerading as a comedy about an unloved boy whom nobody wants until someone says, Yes, I’ll love him.
  15. The Lure
    We are not exactly in the present and not precisely in the past, but in a dreamy cinematic space where distinctions of genre and tone are pleasantly (and sometimes shockingly) blurred.
  16. The Confirmation
    The pleasures are modest but rewarding in Bob Nelson’s character study The Confirmation.
  17. They Will Have to Kill Us First
    Johanna Schwartz’s miraculously hopeful documentary, They Will Have to Kill Us First: Malian Music in Exile, delivers a vibrant testimony of resilience under oppression.
  18. Eva Hesse
    It’s like a comprehensive exhibition catalog or a thorough critical essay — an indispensable aid to understanding and appreciating a fascinating artist.
  19. The Light Between Oceans
    As a drama about adult responsibility, selfishness and moral obligations, however, it never wavers in its commitment to examine what it means to raise a child.
  20. House Party
    Unlike most teen-age movies, which attempt to impose some kind of adult order and significance on the events they recall, House Party has the light touch, rude wit and immediacy of rap as improvised by someone in top form.
  21. Daughters of the Dust
    For all its harsh allusions to slavery and hardship, the film is an extended, wildly lyrical meditation on the power of African cultural iconography and the spiritual resilience of the generations of women who have been its custodians.
  22. The Watermelon Woman
    That it succeeds in being both stimulating and funny is a testament to the talent and open-heartedness of Ms. Dunye, who wrote and directed the movie and is its star.
  23. New Jack City
    The film's flamboyant portrait of Nino may be stereotypical, but Mr. Snipes makes it chilling.
  24. The Mermaid
    While second-guessing the marketing strategies of movie conglomerates is happily not the concern of this reviewer, it does seem a shame that this exhilarating, bizarre, good-hearted, blatantly obvious sci-fi-fantasy-slapstick eco-fable isn’t getting wider fanfare.
  25. The Last Man on the Moon
    You already know the history told in The Last Man on the Moon, but this story just never grows old.
  26. Fastball
    This appealing documentary makes you understand why aficionados regard baseball as a form of poetry.
  27. 11 Minutes
    You could call Mr. Skolimowski, who is 77, an old dog, and while the multistranded, chronologically intricate narrative conceit of 11 Minutes isn’t exactly a new trick, it’s one he pulls off with devilish panache and startling impact.
  28. Fatima
    If the movie, loosely based on two books by Fatima Elayoubi, tells a familiar story of immigrants struggling to make something of themselves in an alien culture (Fatima speaks some French but reads only Arabic), it does so in a tone that is kindhearted but clearheaded, and the performances are low-key and believable.
  29. Fireworks Wednesday (2006)
    As with Mr. Farhadi’s other films, every detail of speech and body language resonates.
  30. Belladonna of Sadness (1973)
    Belladonna of Sadness is compulsively watchable, even at its most disturbing: The imagery is frequently graphic, and still, after over 40 years, it has the power to shock.
Page:

Top Trailers

See all »
See all trailers »